Pub Date : 2022-09-02DOI: 10.1080/01472526.2022.2108637
Lisa Jayne Wilson
Falling through Life and Dance aims to discuss falling “as a reassuring, creative and life-enhancing force” (p. 2) and to engage with gravity’s many possibilities in all its unexpectedness. It invites readers to join the author in an investigation of falling with a spirit of curiosity, intent, and reverence, while challenging the Western assumption that falling is a negative experience. In so doing, Emilyn Claid, the acclaimed experimental choreographer, academic, director, and psychotherapist, delivers a diverse range of ideas linked through the theme of falling. Her ethnographic approach draws together multiple voices. Claid has gathered experiences from dancers, artists, and writers that surprise, invigorate, upset, and inspire the reader’s understanding of falling. The perspectives in this book are so diverse that the book is difficult to describe. The book itself exemplifies the fact that there is no one way to think about falling. Reading Falling through Dance and Life is like falling again and again— physically, emotionally, and conceptually. The book treats subjects such as identity and risk as physical, social, and emotional falling. Claid analyzes the performance work My Sex, Our Dance (1986) created by Lloyd Newson and Nigel Charnock, alongside interviews with Lloyd Newson in the section titled “Sex in Crisis” (pp. 127–31). The book also covers ideas related to falling and accidental death in performance in the section “Sholiba” (p. 105). In the section “April 2020,” Claid describes the political changes in the UK, including COVID 19, in what begins to feel like a free fall into precarity (p. 96). Due to the broad range of topics and approaches to thinking and feeling falling, this book will appeal to students, researchers, and artists interested in movement, falling, and engagement with gravity. I found comfort in the familiar dance language in the book; however, Claid draws on the vast experience she has in performance to widen the accessibility of this book beyond dance. The language and tone move beyond Western theatrical
{"title":"Falling Again and Again","authors":"Lisa Jayne Wilson","doi":"10.1080/01472526.2022.2108637","DOIUrl":"https://doi.org/10.1080/01472526.2022.2108637","url":null,"abstract":"Falling through Life and Dance aims to discuss falling “as a reassuring, creative and life-enhancing force” (p. 2) and to engage with gravity’s many possibilities in all its unexpectedness. It invites readers to join the author in an investigation of falling with a spirit of curiosity, intent, and reverence, while challenging the Western assumption that falling is a negative experience. In so doing, Emilyn Claid, the acclaimed experimental choreographer, academic, director, and psychotherapist, delivers a diverse range of ideas linked through the theme of falling. Her ethnographic approach draws together multiple voices. Claid has gathered experiences from dancers, artists, and writers that surprise, invigorate, upset, and inspire the reader’s understanding of falling. The perspectives in this book are so diverse that the book is difficult to describe. The book itself exemplifies the fact that there is no one way to think about falling. Reading Falling through Dance and Life is like falling again and again— physically, emotionally, and conceptually. The book treats subjects such as identity and risk as physical, social, and emotional falling. Claid analyzes the performance work My Sex, Our Dance (1986) created by Lloyd Newson and Nigel Charnock, alongside interviews with Lloyd Newson in the section titled “Sex in Crisis” (pp. 127–31). The book also covers ideas related to falling and accidental death in performance in the section “Sholiba” (p. 105). In the section “April 2020,” Claid describes the political changes in the UK, including COVID 19, in what begins to feel like a free fall into precarity (p. 96). Due to the broad range of topics and approaches to thinking and feeling falling, this book will appeal to students, researchers, and artists interested in movement, falling, and engagement with gravity. I found comfort in the familiar dance language in the book; however, Claid draws on the vast experience she has in performance to widen the accessibility of this book beyond dance. The language and tone move beyond Western theatrical","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"45 1","pages":"267 - 271"},"PeriodicalIF":0.4,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46953192","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/01472526.2022.2064697
J. Dellecave
abstract Pope.L’s art exhibition Trinket (2015) featured an installation of an oversized US flag blown by high-powered wind machines. The artwork generated a choreography among viewers who inadvertently danced with the US flag, reversing fraught dynamics surrounding visibility and spectatorship for work by Black artists. Trinket called upon spectators to feel into sensation, rather than adopt a mode of distanced, disembodied interpretation. Informed by embodied racial justice activist Resmaa Menakem, I argue that Pope.L’s Trinket connected viewers with somatic experience, enabling them to grapple with ongoing structural racism in the United States.
{"title":"Dancing with the Stars and Stripes: Sensation as Spectatorial Choreography in Pope.L’s Trinket","authors":"J. Dellecave","doi":"10.1080/01472526.2022.2064697","DOIUrl":"https://doi.org/10.1080/01472526.2022.2064697","url":null,"abstract":"abstract Pope.L’s art exhibition Trinket (2015) featured an installation of an oversized US flag blown by high-powered wind machines. The artwork generated a choreography among viewers who inadvertently danced with the US flag, reversing fraught dynamics surrounding visibility and spectatorship for work by Black artists. Trinket called upon spectators to feel into sensation, rather than adopt a mode of distanced, disembodied interpretation. Informed by embodied racial justice activist Resmaa Menakem, I argue that Pope.L’s Trinket connected viewers with somatic experience, enabling them to grapple with ongoing structural racism in the United States.","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"45 1","pages":"117 - 130"},"PeriodicalIF":0.4,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46441970","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/01472526.2022.2063010
Maria-Adriana Deiana
Dana Mills’s latest book, Dance and Activism: A Century of Radical Dance Across the World, makes an important contribution to ongoing conversations within the field of dance studies about the political nature of dance. The book explores the mobilization of dance as a language and method for activism and radical hope, extending and refining the intimate relationship between dance and politics outlined in Mills’s previous work. With this book, Mills takes us a step further by interrogating dance as an artistic language that galvanizes, and is driven by, radical action. As stated in the preface, the book investigates “what it means to be radical in dance; how do our new forms of activism relate to those that occurred in the course of the twentieth century, and what is the responsibility and the mission of the twentieth century dancer-activist?” (p. x). Mills’s research is informed by “the many spectres [that] are haunting the world. Violence, sexism, racism, white supremacy” (p. 166). Motivated by these political urgencies, she reflects upon the role of the arts, and dance specifically, as a tool for activism and solidarity in turbulent times of rising tensions and divisions (p. x). Drawing from a century of radical dance, Mills curates a set of case studies spanning from 1920 to 2020. Moving beyond the traditional centralization of the Anglo-American world in both dance studies and international politics, Mills’s analysis maps dance works ranging from New York City’s Lower East Side in the 1920s to the 2014 war on Gaza, from the Syrian war to reproductive justice protests across the world. Throughout the chapters, Mills foregrounds how dancer-activists and activist-dancers have responded powerfully and creatively to issues that have been at the forefront of global politics since the beginning of the twentieth century and continue in our current moment. The book’s reach is truly interdisciplinary. Mills has a clear grounding in dance studies through the rich analysis of dance performances; the critical reflection on genres, canons, and dance institutions; and the tributes to key
{"title":"Dance as Radical Action: A Riveting Journey through Dance, Activism, and Global Politics","authors":"Maria-Adriana Deiana","doi":"10.1080/01472526.2022.2063010","DOIUrl":"https://doi.org/10.1080/01472526.2022.2063010","url":null,"abstract":"Dana Mills’s latest book, Dance and Activism: A Century of Radical Dance Across the World, makes an important contribution to ongoing conversations within the field of dance studies about the political nature of dance. The book explores the mobilization of dance as a language and method for activism and radical hope, extending and refining the intimate relationship between dance and politics outlined in Mills’s previous work. With this book, Mills takes us a step further by interrogating dance as an artistic language that galvanizes, and is driven by, radical action. As stated in the preface, the book investigates “what it means to be radical in dance; how do our new forms of activism relate to those that occurred in the course of the twentieth century, and what is the responsibility and the mission of the twentieth century dancer-activist?” (p. x). Mills’s research is informed by “the many spectres [that] are haunting the world. Violence, sexism, racism, white supremacy” (p. 166). Motivated by these political urgencies, she reflects upon the role of the arts, and dance specifically, as a tool for activism and solidarity in turbulent times of rising tensions and divisions (p. x). Drawing from a century of radical dance, Mills curates a set of case studies spanning from 1920 to 2020. Moving beyond the traditional centralization of the Anglo-American world in both dance studies and international politics, Mills’s analysis maps dance works ranging from New York City’s Lower East Side in the 1920s to the 2014 war on Gaza, from the Syrian war to reproductive justice protests across the world. Throughout the chapters, Mills foregrounds how dancer-activists and activist-dancers have responded powerfully and creatively to issues that have been at the forefront of global politics since the beginning of the twentieth century and continue in our current moment. The book’s reach is truly interdisciplinary. Mills has a clear grounding in dance studies through the rich analysis of dance performances; the critical reflection on genres, canons, and dance institutions; and the tributes to key","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"45 1","pages":"177 - 181"},"PeriodicalIF":0.4,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45550986","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/01472526.2022.2065868
Steven Ha
Abstract This article examines the ballet Orpheus (1948), choreographed by George Balanchine, and the cultural milieu of queerness surrounding the ballet’s creation. Although Orpheus is known for helping to formally establish the New York City Ballet, the undercurrents of homosexuality in the ballet’s development have received less attention in the historical narrative. Additionally, the dancer Nicholas Magallanes, a gay Mexican American immigrant who starred in the title role, is similarly overlooked. Thus, through choreographic analysis and archival research, I elucidate the collective influence of a constellation of queer men to assert that the significance of Orpheus lies in its queer past.
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Pub Date : 2022-05-04DOI: 10.1080/01472526.2022.2064162
Francis Yeoh
abstract The paucity of reported case law on dance copyright indicates that choreographers have not been as active as other authors, such as composers or writers, in seeking the powers bestowed through copyright ownership. I examine the historical context of choreographers’ inability or reluctance to resort to litigation to establish their copyrights in light of the socio-economic and political factors that dominate the choreographers’ professional lives. I conclude that choreographers’ attitudes to copyright are changing as their awareness grows regarding the dangers of losing control of the bundle of rights bestowed on choreographers by the US and UK copyright laws.
{"title":"Why Don’t Choreographers Copyright Their Works?","authors":"Francis Yeoh","doi":"10.1080/01472526.2022.2064162","DOIUrl":"https://doi.org/10.1080/01472526.2022.2064162","url":null,"abstract":"abstract The paucity of reported case law on dance copyright indicates that choreographers have not been as active as other authors, such as composers or writers, in seeking the powers bestowed through copyright ownership. I examine the historical context of choreographers’ inability or reluctance to resort to litigation to establish their copyrights in light of the socio-economic and political factors that dominate the choreographers’ professional lives. I conclude that choreographers’ attitudes to copyright are changing as their awareness grows regarding the dangers of losing control of the bundle of rights bestowed on choreographers by the US and UK copyright laws.","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"45 1","pages":"155 - 172"},"PeriodicalIF":0.4,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48361476","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/01472526.2022.2059303
Rebecca Chaleff
Arabella Stanger’s first monograph, Dancing on Violent Ground: Utopia as Dispossession in Euro-American Theater Dance, is a brilliant study of the spatial philosophies, practices, and politics underpinning histories of dance as a theatrical art form. For this project, Stanger has built a thorough theoretical apparatus that scaffolds significant contributions to the fields of dance and performance studies through an interdisciplinary approach drawing primarily from critical race theory and Native studies. Employing a materialist attention to both staged and social choreographies of space, Stanger analyzes how theater dance—which she describes as “a nexus of corporeal, discursive, and institutional practices” (p. 4)—enacts and extends violent processes of racialization and dispossession. Dancing on Violent Ground contends that dance “can model harmonic or freeing experiences for dancers and audiences while masking and legitimizing imperial, colonial, and white supremacist practices of space” (p. 4). Stanger makes this argument elegantly and compellingly through her engagement with carefully selected objects of analysis, including the choreographies, drawings, and philosophies of Marius Petipa, Martha Graham, George Balanchine, Rudolf von Laban, Oskar Schlemmer, Merce Cunningham, and Boris Charmatz. Stanger’s theoretical turn to choreographies of space is enriched by a vast archive of historical material that spans multiple continents and several centuries. These examples from ballet, modern, and contemporary dance both prove and further complicate her pertinent critiques of how choreographic cultures uphold the supremacy of whiteness. Despite the temporal and geographic breadth of her research, Stanger’s attention to the pervasive imperial and settler colonial ideologies that pulse throughout the history of Euro-American theater dance provides strong connections among her objects of study. Stanger achieves a clear intervention in the field of dance studies by shifting her analytical attention toward the ways that bodies and
阿拉贝拉·斯坦格（Arabella Stanger）的第一本专著《暴力地上的舞蹈：欧美戏剧舞蹈中的乌托邦处置》（Dancing on Violent Ground：Utopia as Disposed in Euro American Theater Dance）对舞蹈作为一种戏剧艺术形式的历史所支撑的空间哲学、实践和政治进行了精彩的研究，斯坦格通过主要借鉴批判性种族理论和本土研究的跨学科方法，建立了一个全面的理论体系，为舞蹈和表演研究领域做出了重大贡献。斯坦格运用唯物主义者对舞台和社会空间编排的关注，分析了戏剧舞蹈——她将其描述为“物质、话语和制度实践的联系”（第4页）——是如何产生和扩展种族化和剥夺的暴力过程的。《暴力场地上的舞蹈》认为，舞蹈“可以为舞者和观众塑造和谐或自由的体验，同时掩盖和合法化帝国主义、殖民主义和白人至上主义的太空实践”（第4页）。斯坦格通过精心挑选的分析对象，包括马里乌斯·佩蒂帕、玛莎·格雷厄姆、乔治·巴兰钦、鲁道夫·冯·拉班、奥斯卡·施莱默、默西·坎宁安和鲍里斯·查马茨的舞蹈、绘画和哲学，优雅而有力地提出了这一论点。斯坦格从理论上转向太空编舞，这得益于跨越多大洲和几个世纪的大量历史材料档案。这些来自芭蕾舞、现代舞和当代舞的例子都证明了她对舞蹈文化如何维护白人至上的中肯批评，并使其进一步复杂化。尽管斯坦格的研究在时间和地理上都很广泛，但她对贯穿欧美戏剧舞蹈史的普遍的帝国和定居者殖民意识形态的关注，为她的研究对象提供了强有力的联系。斯坦格通过将她的分析注意力转移到身体和
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Pub Date : 2022-05-04DOI: 10.1080/01472526.2022.2063618
K. Mattingly
(Re:)Claiming Ballet, an anthology edited by Adesola Akinleye, an assistant professor at Texas Women’s University, offers seventeen chapters divided into four sections—Histories, Knowledges, Resiliences, and Consciousnesses— plus two forwards, one by Katy Pyle and the other by Virginia Johnson. The moments of overlap and conversation between authors make this collection a terrific resource. The anthology demonstrates the vital work being done to dismantle inequities in ballet while implicitly pointing to ongoing issues that need reform. Ballet, as a technique and art form, has privileged illusions of effortless grace that can mask tremendous pain, strain, and oppression, empowering an entitled few to make decisions that deleteriously impact the many. The need for greater transparency and recognition of biases exists in studios, programming, funding, cultural policy, historical research, and criticism. This collection explores all of these topics, and Akinleye’s curation enables readers to draw their own conclusions about what constitute “progressive,” “traumatic,” and “somatic” approaches to ballet. The variety in writing styles contributes to the book’s aspiration of amplifying different views. Methodologies range from autoethnography— used in the fantastic chapter by dancer and teacher Theara J. Ward—to archival research—seen in a terrific chapter by scholar Sandie Bourne that examines (mis)representation of communities of color in ballet productions. The volume’s authors range from educators and consultants to school directors and administrators; nine are white, eleven are Black. All identify as female, except one. I include these demographics because I think they reflect where the labor and investment to “reclaim” ballet is situated. A compelling chapter by Akinleye and scholar/practitioner Tia-Monique Uzor illuminates the perspectives of Black British ballet dancers. Interviewees describe “the particular trauma that has been felt in being able to see the whole dance field but not necessarily being able to be seen within it” (p. 267). Dancer Christopher Hurley poignantly reflects on the
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Pub Date : 2022-01-02DOI: 10.1080/01472526.2021.2022406
Brigitte Moody
Dance Education: A Redefinition is an investigation of dance education written by the experienced dance educator Susan R. Koff, with contributions from Ann Kipling Brown, John-Mario Sevilla, Alfdaniels Mabingo, and William S. Huntington. Koff presents and debates the hierarchical nature of dance education where dance curricula in public schools and the private dance education sector dominate the history, philosophy, and pedagogical development of dance education. The book echoes what many dance educators experience, that the confusion about what constitutes dance education has at times frustrated efforts to establish legitimate recognition of the importance of dance in any given setting. The book seeks to reframe what dance education might be, while acknowledging that definitions are restrictive, ambiguous, and influenced by many things. However, Koff sums up a core principle that informs many of the debates about definition:
《舞蹈教育：重新定义》是由经验丰富的舞蹈教育家苏珊·R·科夫撰写的一篇关于舞蹈教育的调查报告，Ann Kipling Brown、John Mario Sevilla、Alfdaniels Mabingo和William S.Huntington对此做出了贡献。Koff提出并讨论了舞蹈教育的等级性质，公立学校和私立舞蹈教育部门的舞蹈课程主导着舞蹈教育的历史、哲学和教学发展。这本书呼应了许多舞蹈教育工作者的经历，即对什么是舞蹈教育的困惑有时会阻碍人们在任何特定环境中建立对舞蹈重要性的合法认识。这本书试图重新定义舞蹈教育可能是什么，同时承认定义是限制性的、模糊的，并受到许多因素的影响。然而，Koff总结了一个核心原则，该原则为许多关于定义的辩论提供了依据：
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Pub Date : 2022-01-02DOI: 10.1080/01472526.2021.2024724
M. Metcalf
Abstract In 2015, Simone Forti’s Dance Constructions, a group of understated, equipment-based performances from 1960–1961, entered the permanent collection of the Museum of Modern Art in New York (MoMA) as the museum’s first acquisition of historical dance works. This essay details Forti’s arrangements with MoMA for the Dance Construction Huddle, which complicated the already complicated proposition of how to collect and care for dances in a visual art institution. Examined closely, the acquisition process reveals both how the museum transformed Forti’s work and how Huddle—and dance more generally—presses back on the institution and its investments in objecthood, singular authorship, and private property.
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Pub Date : 2022-01-02DOI: 10.1080/01472526.2021.2024027
Kathryn Dickason
In recent years, medieval studies scholars have reassessed the relationship between dance and religion. Scholars have examined the Church’s disapproval of dance and also uncovered how dance worked in the service of religion. Teeming with tension, dance was always a controversial subject in medieval Europe. The Cursed Carolers in Context, a collection of ten interdisciplinary essays edited by Lynneth Miller Renberg and Bradley Phillis, uses a story that has circulated since the eleventh century as a central narrative to explore the significance of dance for medieval society. In their introduction to the volume, Renberg and Phillis summarize the cursed carolers story, outline its major transmissions, and situate their book within recent medieval dance scholarship. In brief, the cursed carolers story is a tale of a group of rowdy dancers in a village in Saxony who skip Christmas mass and instead dance in the churchyard, after which they become cursed and must dance for a whole year. As Renberg and Phillis indicate, the earliest texts pertaining to the cursed carolers were composed in Latin and may date from around 1021. The story was soon translated into several languages, including Anglo-Norman (a variant of Old French), Middle English, and German vernaculars. It also migrated to Scandinavia. By the early modern period, the story was replaced by tales of dance epidemics, yet it remained relevant in many cultures well into modernity. According to Renberg and Phillis, “by analyzing the story in specific historical contexts, the chapters show how the story of the cursed carolers became a space in which medieval readers, writers, and listeners could debate the meaning and significance of a surprising variety of questions, including ecclesiastical authority, gender roles, pastoral responsibility, and even the conduct of the crusades” (p. 2). This book is one of the first attempts in medieval studies scholarship to bring together an “array of voices and disciplinary perspectives on medieval dance,” and all of the
近年来，中世纪研究学者重新评估了舞蹈与宗教之间的关系。学者们研究了教会对舞蹈的反对，也揭示了舞蹈是如何为宗教服务的。在中世纪的欧洲，舞蹈与紧张交织在一起，一直是一个有争议的话题。Lynneth Miller Renberg和Bradley Phillis编辑的十篇跨学科论文集《语境中的诅咒颂歌》以一个自11世纪以来流传的故事为中心叙事，探讨舞蹈对中世纪社会的意义。在对这本书的介绍中，伦伯格和菲利斯总结了被诅咒的颂歌人的故事，概述了其主要传播方式，并将他们的书置于最近的中世纪舞蹈学术中。简言之，《被诅咒的颂歌人》的故事讲述的是萨克森州一个村庄里一群吵闹的舞者跳过圣诞弥撒，而是在教堂墓地跳舞，之后他们受到诅咒，必须跳舞一整年。正如伦伯格和菲利斯所指出的，最早的关于被诅咒的颂歌作者的文本是用拉丁语创作的，可能可以追溯到1021年左右。这个故事很快被翻译成几种语言，包括盎格鲁-诺曼语（古法语的变体）、中古英语和德语白话。它也迁移到斯堪的纳维亚。到了现代早期，这个故事被舞蹈流行的故事所取代，但它在许多文化中仍然具有相关性，直到现代。根据Renberg和Phillis，“通过在特定的历史背景下分析这个故事，这些章节展示了被诅咒的颂歌作者的故事是如何成为一个空间，在这个空间里，中世纪的读者、作家和听众可以讨论各种令人惊讶的问题的意义和意义，包括教会权威、性别角色、牧师责任，甚至十字军东征的行为”（第2页）。这本书是中世纪研究学术界首次尝试将“中世纪舞蹈的一系列声音和学科观点”结合在一起
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